16 Vi Shatabdi Ka Achirchit Hindi Kavi Bramha Gunkirti

Here's a comprehensive summary of the provided Jain text, "16vi Shatabdi ka Achirchit Hindi Kavi Bramha Gunkirti" by Kasturchand Kasliwal:

The book chapter focuses on Brahma Gunakirti, a significant but largely unknown Jain poet from the 16th century of Hindi literature. The author, Dr. Kasturchand Kasliwal, highlights that this period (Sambat 1501-1600) is traditionally divided into the "Adi Kal" and the period of the "Ashtachhap" poets. However, Kasliwal emphasizes that it was also the early phase of the Bhakti movement, where saints like Guru Nanak and Kabir were attracting people, and simultaneously, Jain poets were actively promoting devotion, worship, and the prestige of Arhats through their works.

Key points about the 16th-century Jain literary context:

• Influence of Bhattarak Tradition: The foundation of the Bhattarak tradition was deepening, with their seats being established widely. Bhattarakas and their disciples began using titles like Acharya, Upadhyay, Muni, and Brahmachari, in addition to Bhattarak. They also started using Rajasthani and Hindi, alongside Sanskrit, for their literary expressions.
• Social and Political Climate: The country was under Muslim rule, with rulers inflicting arbitrary oppression on their subjects. Despite this challenging environment, Bhattarakas and their disciples used vernacular languages to create various types of Ras poems, Pad (songs), and Stavan (hymns) to influence the public's mindset.
• Notable Jain Poets of the 16th Century: The author lists eleven prominent Hindi Jain poets of this era, including Brahma Jinvijay, Brahma Buchraj, Chhol, Thakkursi, Chaturmal, Garavdas, Dharamdas, Acharya Somkirti, Kavi Sanghu, Brahma Gunakirti, and Brahma Yashodhar. These poets are credited with creating significant literary and cultural awakening through their numerous works.

Focus on Brahma Gunakirti:

• Unsung Hero: Brahma Gunakirti is presented as a saintly poet of the 16th century whose contributions have remained largely unknown to the literary world. Despite his importance in Rajasthani literature, his literary services have been neglected.
• Disciple of Brahma Jinvijay: Brahma Gunakirti was the youngest disciple of the Mahakavi Brahma Jinvijay. He came into contact with his guru during his final days and quickly established a unique position for himself due to his exceptional poetic talent. He remembered his guru with reverence.
• Known Work: "Ramseeta Raas": So far, only one work by Brahma Gunakirti has been discovered: "Ramseeta Raas." This is a short narrative poem. While it's impossible to definitively state if he wrote other works, his poetic brilliance suggests the existence of more compositions.
• Context of "Ramseeta Raas": Brahma Jinvijay had composed a large Ramkatha in Sambat 1508. However, given the contemporary interest in studying Ramkatha in a condensed form, Brahma Gunakirti composed the "Ramseeta Raas" in a concise version.
• Content and Structure of "Ramseeta Raas": This is a khanda kavya (a type of epic poem focusing on a particular episode) that briefly narrates events from the birth of Rama and Sita to their entry into Ayodhya and coronation after the victory over Lanka. It comprises 12 Dhalas (stanzas or sections), which function as 11 chapters. This structure was a tradition followed by Jain poets in their compositions during that period. "Ramseeta Raas" is a lyrical work meant to be sung to audiences.
• Dating of "Ramseeta Raas": Although the exact composition date is not available, it is estimated to be around Sambat 1540, as Brahma Gunakirti was younger than Brahma Jinvijay, whose active period is considered to be until Sambat 1520. The manuscript containing "Ramseeta Raas" is dated Sambat 1585.
• Estimated Lifespan: Based on the "Ramseeta Raas," Brahma Gunakirti's period can be estimated as Sambat 1490 to 1550.
• Language: The language of "Ramseeta Raas" is Rajasthani. While there's a clear influence of Gujarati style, likely due to its composition in a region of Gujarat, the verb forms and other words confirm the poet's strong affinity for Rajasthani. Examples of Rajasthani words used include: Vichariü (विचार कर - having thought), Maandi'i (मांडे - started), Aavimaye (आये - came), Mankhi (जानकी - Janaki), Ghani (बहुत - much), Pani (हाथ - hand), Aapna (अपना - own), Ghalpi (डालना - to put), Janue (जानुए - to know), Bolae (बोलए - to speak), Lijai (लीजइ - to take), Vapadi (वापडी - used).
• Social Commentary: While "Ramseeta Raas" is a concise Ramkatha, the poet subtly incorporates social aspects where relevant. The description of Rama and Sita's wedding details social customs like decorating the toran (gateway), hanging pearl garlands, placing golden pots, performances by Gandharvas and Kinnaras, auspicious greetings from beautiful women, and celebratory songs by fortunate women during the ceremony.
• Geographical Mentions: The poet mentions several cities in the context of Rama, Lakshmana, and Sita's journey south. These include Chittodgadh (Chittor), Nalpachapatan, Arunagram, Vansasthal, and Medpat (Mewar). The description of Chittor, the then capital of Mewar, is noted.
• Popularity of Ramkatha: The author emphasizes the poet's intention to compose "Ramseeta Raas" to showcase the popularity of the Ramkatha among the general public and to present his poetic talent. Jain poets had written numerous Ramkatha-based works, both prabandh kavya and khanda kavya, centuries before Tulsidas. Scholars like Swayambhu, Pushpadant, and Ravisenacharya played a significant role in popularizing Ramkatha within the Jain community. The chapter mentions that by the time Tulsidas wrote his Ramayana, Jain poets had already completed dozens of Ras works on the Ramkatha.
• Humility of the Poet: At the end of the Ras, the poet expresses his humility, stating that the "Ramayana Granth" is immeasurable and that he, being of limited intellect, has provided a brief account. He appeals to scholars to expand upon the story if they wish and to show compassion to him when listening to this Ramkatha.
• Poetic Forms and Ragas: The work has 12 Dhalas, each functioning as an chapter, containing a total of 207 verses. These verses are set to various ragas and bhashas, with notable examples including Bhash Shri Hi, Bhash Mithyatva Modani, Bhash Vanjarani, Bhash Naresuvani, Bhash Sahi Ki, Bhash Teen Chavisini, and Bhash Sahildani. The poet also frequently used the Chotak meter at the beginning of his work.
• Call for Further Research: The chapter concludes with a call for extensive research in Digambar Jain scriptural repositories across Rajasthan, Uttar Pradesh, Delhi, Madhya Pradesh, and Gujarat to uncover more works by Brahma Gunakirti. The author hopes that scholars will pay attention to this request.

In essence, the chapter by Dr. Kasturchand Kasliwal aims to bring to light the significant, yet overlooked, contributions of Brahma Gunakirti, a 16th-century Jain poet whose work "Ramseeta Raas" exemplifies the artistic and devotional fervor of Jain literature during a dynamic period of Indian history.